Born Aug 22, 1961 in Buenos Aires, Argentina, he began his professional musical career at the age of 17 playing keyboards in Raíces.
In 1981 he incorporated to one of the main bands of the Argentinean '80s rock scene: Los Abuelos de la Nada. Although the band was led by the brilliant Miguel Abuelo, Calamaro composed most of the band's hits, like "Mil Horas," "Así es el calor," "Sin gamulán" and "Costumbres Argentinas."
In 1984 he made his solo debut with Hotel Calamaro. The album was a bizarre mix of styles and musicians, and didn't gain public or press support.
In 1985 he left Los Abuelos de la Nada and registered his second album Vida Cruel. Inspite of the important musicians and guests, such as Luis Alberto Spinetta and Charly García, the album was a disappointment: both commercially and artistically. But if as a songwriter the luck was out of reach, he had an intense and successful work as a producer of bands like Los Enanitos Verdes, Los Fabulosos Cadillacs and Don Cornelio y la zona. He also worked and collaborated with many artists of different styles and genres, a constant attitude through his whole career. The third album Por Mirarte showed Calamaro in a better shape with an established band. Released in 1988 it contains some outstanding songs such as "Con los dientes apretados" and "Me olvidé de los demás," while others like "Cartas sin Marcar" and "Loco por tí" helped the album to get popular.
When Calamaro released in 1989 Nadie Sale Vivo de Aquí, Argentina was living it's worst economical crisis: few albums were released. The album title suggest it all: Nobody comes out alive from here. The LP production was paralyzed, and the few that could make it were almost ignored. That was Calamaro's case. This situation lead the singer to settle in Spain, following a road taken by many Argentinean rockers. Out there in Spain he met Ariel Rot y Javier Infante, former members of Tequila. They formed Los Rodríguez in 1991, a pop-rock band that was very popular in Spain and Latin America: Calamaro's songs began to be popular like in the early '80s: the hit maker was on the road again. Curiously, from Spain, he was conquering Argentina. While being part of the band he didn't release any new solo material, just Grabaciones Encontradas 1 y 2, a couple of CDs that contained unreleased and rare material from the '80s.
After the split of Los Rodríguez, Calamaro returned to his solo career recording Alta Suciedad in 1997, an album produced by Joe Blaney. This album brought him the commercial success that seemed to fail in his previous solo efforts, and sold 300.000 copies just in Argentina. That is certainly a huge amount for the country's small market. No doubts, that album helped him to be placed between the star legends of the national rock scene. Before that album Calamaro was considered an important character, appreciated by other musicians, but not a main one. After he broke up with his spanish girlfriend he released in 1999 the double CD Honestidad Brutal. Recorded when he was 37, it contained 37 songs of despair, love loss, drugs and regret. It was not as successful at the previous album, but showed a new Calamaro: desperate, decadent and often elegant at the same time, with a new and raw lyrical approach. El Salmon followed in spring 2001.
Calamaro's next proyect, El Cantante, was released in 2005. A delicious mixture of tango, rock n'roll and flamenco guitars (mostly played by spanish prodigy El Niño Josele).
After a break, he returned to the stages with a tour full of classics that gave birth to a live album called El Regreso on 2005, recorded with members of Bersuit Vergarabat as a backing band. This album was very well received for the charts as well as for the critics, wich lead him to different awards. One year later, on 2006, Andres published a new album from the roots of tango with the collaboration of guitarrists Niño Josele and Juanjo Dominguez. On 2007 El palacio de las flores was published, although it was recorded on 2006. The album had the collaboration and musical influence of argentine composer Lito Nebbia and was also recorded on his studio. This was the return to a classic Calamaro album with new songs and hits.
Palabras Luminosas
Andrés Calamaro Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yo no fui, yo no lo traje
The song "Palabras Luminosas" by Andrés Calamaro begins with an enthusiastic greeting, "Buen día día," repeated twice to signify the start of a new day. The lyrics then describe the power of "words" and how they can be "luminosas" or full of light for someone who has been awake all night. The following lines introduce different characters - an orator, a poet, a charismatic performer, a witty dancer, a learned academic, and a strong personality. These individuals are all described as having the ability to make people laugh, even the "death" itself.
The lyrics then shift to a more confrontational tone where the subject character may have been rejected by someone who did not want their company anymore. The repetition of "seguro hizo reír a la muerte" is replaced by "seguro lo quisieron mandar de vuelta" (they surely wanted to send him away). The final two lines, "Arriba o abajo, quién se banca al petizo, que suba, que baje, yo no fui, yo no lo traje" rough translate to "Up or down, who can stand the little one, let him go up, let him go down, I didn't bring him." This seems to imply that the subject character, perhaps one of those introduced in the opening lines, has been dismissed or negatively impacted by external forces, but the singer of the song denies responsibility.
Overall, "Palabras Luminosas" is a vibrant tribute to the power of language and its ability to capture a range of personalities with their own distinct qualities. The song also reflects on the unpredictability of life, with characters who can make people laugh one moment and then find themselves rejected or shuffled around in the next.
Line by Line Meaning
Buen día día. Buen día día.
A cheerful greeting, repeated twice for emphasis and positivity.
Qué palabras luminosas
Describing the beauty and brilliance of the spoken or written language.
Para alguien que no dormía
Imagining words that could keep someone awake, either in a good or bad way.
Un orador un poeta
Praising qualities of a skilled speaker and writer of verse.
Con carisma y con jeta
Noting that such an individual would likely possess confidence and charm.
Un bailarín improvisado
Comparing the art of speaking and writing to that of dancing, with the added challenge of improvisation.
Y letrado pero ilustrado
Highlighting the importance of both education and culture in creating powerful language.
Académico cómico
Recognizing the potential for humor and wit in academic language.
Y con carácter fuerte
Adding that such a person would likely also have a strong personality.
Seguro hizo reír a la muerte
Believing that this kind of language could even make the grim reaper laugh.
Seguro lo quisieron mandar de vuelta
Suggesting that some people might be intimidated or envious of such linguistic prowess.
Arriba o abajo
Musing about the ultimate destination of such a person: either rising to the top or falling to the bottom.
Quién se banca al petizo
Asking who would be brave enough to challenge a small but powerful person.
Que suba, que baje
Encouraging the person to keep persevering through whatever challenges may come.
Yo no fui, yo no lo traje
Disavowing any responsibility for the impressive language, perhaps suggesting that it simply came from the ether.
Contributed by Audrey I. Suggest a correction in the comments below.